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Origin of Rhythm and Blues

Origin of Rhythm and Blues (Part 5)

R&B: 1955 - 1963

Fertile Ground for Regional Music

Because of resistance from the white establishment, many R&B songs were banned from play on white radio stations during the early 1950s. As a result, many white artists covered R&B songs with milder versions designed specificallly for white audiences.

Several important transitions were rooted in the years 1954 and 1955. The following trends led to the popularity of the television show American Bandstand to come in the near future:

  • Rhythm and Blues accepted by many white teenagers and gaining popularity on some white radio stations
  • Doo Wop genre firmly rooted, as blacks attempt to gain a white audience by recording romance songs
  • Rockabilly genre firmly rooted, as Country and Western performers seek acceptance in the new uptempo music
  • Rock and Roll genre taking its place in history, as more uptempo happy songs are replacing the blues from the World War II era
  • Audiences are open to more genres, economic times are good, and people are glad to forget the past hardships of the Korean War and World War II

White teenagers demanded black R&B music. As popularity of R&B increased, small R&B bands added trumpets, saxophones, and sometimes backup singers. Radio stations played more records by black artists, including Little Richard, Fats Domino, Shirley & Lee, Lloyd Price, Junior Parker, Ray Charles, and James Brown.

The formula for commercial success included:

  1. Simple lyrics
  2. Play time of about 2-minutes per song
  3. Memorable rhythms
  • Bobby Mitchell
  • Chris Kenner
  • Fats Domino
  • James (Sugar Boy) Crawford
  • Huey Smith
  • Larry Williams
  • Little Richard
  • Lloyd Price
  • Shirley & Lee
  • Tommy Ridgley

From 1955 through 1959, R&B, Rock & Roll, and Rockabilly records were made by any group who could get a few members together and with some luck, they could become famous. The Atlantic record label became the prestigious R&B record label from 1955 through the mid 1960s. Ray Charles:

  • (Atlantic 1050 1955) I Got A Woman
  • (Atlantic 1063 1955) A Fool for You
  • (Atlantic 1085 1955) Drown In My Own Tears
  • (Atlantic 2010 1959) (Night Time Is) The Right Time
  • (Atlantic 2022 1959) That's Enough
  • (Atlantic 2031 1959) What'd I Say, Parts 1 & 2
  • (Atlantic 2094 1959) Early in the Morning
  • (Atlantic 2047 1959) Don't Let the Sun Catch You Crying

Ray Charles became star of the R&B genre by the end of 1955. He made a splash in the Pop market with his crossover hit, "What'd I Say," released in 1959.

From 1955 through 1959, R&B was extremely popular. Artists such as James Brown (mostly black audiences) and Chuck Berry, Ray Charles and Sam Cooke (equally black and white audiences) were producing hit after hit record. Chuck Berry - (Chess 1926 1956) Roll Over Beethoven, is a transitional piece where in his lyrics he states, "I got the rockin' pneumonia I need a shot of rhytm and blues," and then later in the lyrics "rollover Beethoven dig these rhythm and blues," in which the term "rock and roll" had not permeated music. Chuck Berry - (Chess 1671 1958) Rock 'n Roll Music, is an official tribute to "rock and roll" and references to rhythm and blues became old fashioned!

American Rock & Roll: A National Obsession

Until late 1957, radio was the major source of music for America. When American Bandstand was televised from Philadelphia (hosted by Dick Clark) in 1957, the entire situation changed forever. Artists such as Chuck Berry, Ray Charles, and James Brown hastened to avoid the old fashioned label, and moved to rock and roll, and for some, soul genres.

Next page ..... Origin of Rhythm and Blues (Part 6)

Previous page ..... Origin of Rhythm and Blues (Part 4)


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